Publisher Laurence King writes: Born out of the drawingbuilding.org online archive, Architectural Inventions presents a stunning visual study of impossible or speculative structures that exist only on paper. Soliciting the work of architects, designers, and artists of renown -as well as emerging talents from all over the world -Maximilian Goldfarb and Matt Bua have gathered an array of works that convey architectural alternatives, through products, expansions, or critiques of our inhabited environments.
From abstract and conceptual visual interpretations of structures to more traditional architectural renderings, the featured work is divided into thematic chapters, ranging from 'Adapt/Reuse' to 'Clandestine'' 'Mobile'' 'Radical Lifestyle', 'Techno-Sustainable', and 'Worship'. Along with arresting and awe-inspiring illustrated content, every chapter also features an essay exploring its respective themes.
Highlighting visions that exist outside of established channels of production and conventions of design, Architectural Inventions showcases a wide scope in concept and vision, fantasy and innovation.
Architectural Inventions offers an exciting trip to a place you may or may never want to go: inside the head of architects. While a few projects are fairly well documented (for example, The House that Herman built), the majority of the drawings have never been published, not even on the websites of their authors. Which is thrilling but also frustrating when you want to know more about the memorial for the space shuttle Columbia, the extravagant Tesla coil show, the helicopter archipelago, the missile houses, the static desert viking ship, the temple for a moon cult, the artificial planet put into orbit around the sun, the robotic terrorism defense system (i thought that one was already around?!?), aerial suburbs, intricate subterranean networks of garbage disposal, etc. Sometimes the images are accompanied by a short text written in cursive (a real pain to read) and sometimes there's just a title.
The drawings section is introduced by a series of essays by architects, visionaries, installation artists and other people who have interesting thoughts about the impact of the Alexander technique on the built space, time machines, utopia and doomsday. Yes, doomsday because the images and essays might be whimsical and compelling, they never completely lose touch with the dark reality of our time.
Views inside the book:
Über Grenzen. On Borders, photographs by Ostkreuz - Agentur der Fotografen. Texts by Andrea Böhm, Wolfgang Büscher, Fabian Dietrich, Anna-Christina Hartmann and Marcus Jauer. Graphic design by Jan Spading.
Available on amazon UK, i couldn't find it on amazon USA.)
Publisher Hatje Cantz writes: They offer protection, lead to war, limit freedom, or make it possible; they have always been there and they will continue to exist: borders. Hardly anything else is as socially ambivalent, as timeless, and simultaneously as extremely relevant. The Ostkreuz agency was founded when what was probably the most important border in the history of Germany--the Berlin Wall--disappeared. Two decades later, the agency's photographers set out on a search for today's frontiers. Their pictures tell of discovering a state identity in South Sudan; they portray groups of indigenous peoples battling for their land in Canada and gay people in Palestine seeking exile in the enemy country of Israel. The focus is always on people: how do boundaries influence their everyday lives, and how do they shape their lives along those that surround them?
This book is about conflicts, misunderstandings, distrust, isolation, greed, fear, privileges and control. Über Grenzen. On Borders contains the kind of images you see in newspapers and press photo exhibitions. This time however they come with the personal story of the photographer: the doubts, the dangers encountered (one of them was kidnapped on the job), the challenges, the disappointments. I like the way photographers write. Whether they do it in the form of a diary or of a more traditional reportage article, whether they attempt to stay neutral or cannot hide their involvement in the issue they are covering, photographers are factual, informative, and efficient. As someone whose job consists mostly in writing, i can only feel envy. I should have undertaken a formation in photography instead of philology (what was i thinking the day i enrolled in philologie classique?)
As the description suggests, Über Grenzen. On Borders takes you all around the world. The stories which are closer from home are obviously the ones that hurt the most: the extreme lengths the European Union goes to in order to keep at bay anyone who doesn't have the right passport; the communities, such as the Roma, who are vilified and driven out of their houses.
Here are some of photo reports presented in the book:
In A State Emerges, Espen Eichhöfer documents the first steps of a new nation: South Sudan. Houses might be ramshackle, government buildings might be hosted by temporary structures but the government and citizens rest their hopes on oil. About eighty percent of the oil deposits in all of Sudan are in their territory.
The Green Line looks at the Republic of Cyprus which, officially, is still undivided. Since the invasion by Turkish troops in 1974, however, the government only controls two-thirds of the national territory. The United Nations has guarded a buffer zone for almost forty years along the old ceasefire line. It runs right through the capital city.
Members of the Lubicon Cree (in today's Canada) have never surrendered and relinquished their territory. But oil and gas development on or near their land is threatening their way of life, their culture, and their health.
Twenty-two years after the fall of the Berlin Wall Ute and Werner Mahler drove along the old border that used to separate East German citizens from the West: a strip of land almost 1400 kilometers long running from the Baltic in the Harz to the foothills of the Thuringian Forest, in Saxony.
Most illegal immigrants enter the European Union via the route that goes from Turkey to Greece. And the instruments put forward to keep them out are getting increasingly sophisticated. Mostly through the Frontex Agency, a EU border patrol that upgrades technology along the edges of Europe. In the future, they plan to use robots and drones.
A four-kilometer-wide strip has separated North and South Korea since 1953. Soldiers there are still on alert, and every once in a while a shot is fired. Nevertheless, the South Korean tourist office still lures tourists to the last existing border left over from the Cold War, which was a prohibited zone for a long time.
In Prato (Tuscany), the "pronto moda" industry churns out cheap clothes that imitate current trends. They are made by Chinese residents (many of whom entered the country illegally) who produce clothing "made in Italy," under the worst working conditions.
Views inside the book:
Bad Graffiti, by Scott Hocking.
Black Dog Publishing writes: Bad Graffiti is a humorous celebration of the graffiti seen everyday in our cities and often overlooked.
Bad Graffiti looks at the plethora of graffiti that adorns our cities at a ubiquitous, popular cultural level. It is a record of the graffiti of the everyday, not of the named 'artists' who have contributed to the many books on graffiti 'art' over the past ten years or so.
Scott Hocking has been photographing graffiti since 2007, focusing on the humorous commentary decorating urban landscapes and particularly in areas of decay or abandonment. Hocking's photographs, collected here for the first time, tell the story of the everyday and showcase the areas or markings so often seen but also overlooked by others.
Bad Graffiti is a funny, informative and at times irreverent look at the urban landscape today, making a great gift for those interested in the city and popular culture.
I don't think i've ever recommended that you rest your eyes on something truly awful. Nor have ever reviewed a book that made me laugh so much.
Artist Scott Hocking has been spotting and photographing the most unsophisticated, the crudest, the clumsiest and the most idiotic graffiti in and around Detroit since 2007.
He's not looking for the big names of street art but for what he calls 'the little guy', the one who's drunk, angry, frustrated, bored or who just want to look like a bad boy (and miserably fails in the attempt.)
The result is funny but somehow it has more soul than the works you can admire at the MOBA (the Museum of Bad Art.) And that's probably because Hocking knows that a graffiti can never really be taken out of its context. His photos show the comedy but also the tragedy of abandoned buildings, of a city hit by crisis, of its disenchanted inhabitants.
Post-Digital Print - the Mutation of Publishing Since 1894, by Alessandro Ludovico.
Publisher Onomatopee writes: In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of everyday life. The mutation of music and film into bits and bytes, downloads and streams is now taken for granted. For the world of book and magazine publishing however, this transformation has only just begun.
Still, the vision of this transformation is far from new. For more than century now, avant-garde artists, activists and technologists have been anticipating the development of networked and electronic publishing. Although in hindsight the reports of the death of paper were greatly exaggerated, electronic publishing has now certainly become a reality. How will the analog and the digital coexist in the post-digital age of publishing? How will they transition, mix and cross over?
In this book, Alessandro Ludovico re-reads the history of the avant-garde arts as a prehistory of cutting through the so-called dichotomy between paper and electronics. Ludovico is the editor and publisher of Neural, a magazine for critical digital culture and media arts. For more than twenty years now, he has been working at the cutting edge (and the outer fringes) of both print publishing and politically engaged digital art.
The Mutation of Publishing Since 1894... I won't hold it against you if you tell me that this sound austere. This book is however a joy to read. It is entertaining, impeccably researched and written in a compelling style. Alessandro Ludovico blends together retro-futuristic drawings, theory, anecdotes, art works and personal observations to narrate the paper vs pixel battle and ultimately kick off a discussion about the role of print in digital times. To be honest, i knew Ludovico would write a good book about the issue because i've followed his many activities and researches in the field for a number of years now but i had no idea i'd have so much fun reading it. I can't remember having had in my hands a book that made my brain go from quotes by Clay Shirky, Marissa Mayer, Jorge Luis Borges, Vuk Cosic, or Cory Doctorow to stories about keitai shousetsu, Paulo Coelho's call to 'pirate' books, Amazon erasing from your Kindle the copies of George Orwell's books 'while you were sleeping', Daniel Vydra's New York Times Roulette, artistic imitation of banknotes, Sniffin' Glue punk zines, mail art, etc. Add to that the odd flashback (for example the magazines that used to be sold with a floppy disk containing 'bonus' content) that reminds you how fast the publishing world has to adapt in order to keep on attracting readers.
The first chapter, "The death of paper (which never happened)" analyzes 7 moments in history when a new medium has been heralded as a superior alternative to paper. Chapter 2,"A history of alternative publishing reflecting the evolution of print", looks at how artistic avant-gardes have been using print throughout the 20th century. The third chapter, "The mutation of paper: material paper in immaterial times", explores the reasons why paper still makes sense in our digital age. Chapter 4, "The end of paper: can anything actually replace the printed page?", take a critical look at electronic devices, strategies and platforms. The Fifth Chapter, "Distributed archives: paper content from the past, paper content for the future", explores the long-term implication of choosing a medium rather than the other one. The final chapter, "The network: transforming culture, transforming publishing" explains how much quality cultural entities can gain from working as a network.
I've been particularly fascinated by the Appendix which brings side by side the world of print and the digital world to highlight their similarities and differences: shelf space vs web host storage space, shipping strike vs no connection, smell of ink vs sound of clicks, etc.
Post-Digital Print is a book i'd recommend to bloggers, journalists, writers, publishers, designers (of the physical and the 'immaterial' alike), and to anyone who wants to be able to shine at elegant dinners when the conversation turns to questions such as "what's more eco-friendly? is it the print or the digital?' "Will printed magazines disappear in the coming years?" "Is The Pirate Bay killing the publishing industry?"
And because Alessandro Ludovico is the founder and editor of the magazine Neural, he illustrated many of the observations, facts and ideas about post-digital print with a series of artworks. Here's a couple i discovered along the pages:
The Quick Brown monitored Fox News regularly and highlighted changes made on the headlines over the course of the day.
Pamphlet: people typed a message on a computer. As they pressed the 'send' button, the message was printed and dropped as a pamphlet from the 10th floor of the building.
Tim Schwartz's iPod's contents cataloged on paper cards:
Alessandro Ludovico was interviewed about Post-Digital Print in visualMAG.
A Guide to Archigram 1961-74 , edited by Dennis Crompton.
Publisher Princeton Architectural Press writes: In the decade of the Beatles and the moon landing, cybernetics and megacities, an ambitious group of young British architects burst on the scene with a bold manifesto for urban building. The Archigram group pioneered a playful brand of architecture that was visionary, utopian, and grounded in social need. Through a provocative series of publications and exhibitions, the avant-garde cooperative challenged an architectural establishment they felt had become reactionary and self-serving. They advocated a complete rethinking of the relationships between technology, society, and architecture, rightly predicting today's information revolution decades before it came to pass.
A Guide to Archigram 1961-74 is a compact history showcasing the group's most interesting and influential schemes, from walking cities and plug-in universities to inflatable dwellings and free time nodes. This book, the most comprehensive guide to Archigram's voluminous output, collects the critical responses of the period, in addition to hundreds of drawings and photographs.
I thought i knew Archigram. I had read about their vision of technology (or 'technocratic future' as magazine editors like to call it), about the walking city, the plug-in city and the instant city. I even read about the swimming pool for Rod Stewart. But this book confirmed that my knowledge of their work and ideas was -at best- superficial.
The book is like a paper version of the Archigram Archive that the University of Westminster made available online a couple of years ago. There's only a couple of contemporary essays in the book. The rest is drawings, comics, editorials written by Peter Cook for the Archigram magazines, essays by members of the group, project descriptions, black and white photos, etc. You jump from an essay mentioning the anti-aircraft Maunsell Forts recycled into headquarters for offshore pirate stations to houses you can carry on your back, inflatables villages or even traveling metropolis. With Archigram, robots are shooting screens, seminars and conferences are adopting the model of the circus to move around the country and Roy Lichtenstein draws urban super heroes.
Archigram is a product of their time of excitement, innovation and faith in the future when thinkers, engineers and architects were dreaming of marine cities and flying houses. Yet the texts written by Peter Cook in the issues of the Archigram magazine haven't lost their spark nor visionary relevance. Back in the 70s they were already saluting the rise of diy initiatives, of people being creative and playing a more active part in the environment in which they lived. And while today, we're talking about smart fridges, a 1969 Archigram project imagined the 'electronic tomato' which would do the shopping and direct business operations for you.
Reading Archigram's essay is uplifting and thought-provoking. Because of the vivid imagination, the use of comics to communicate ideas but also because of Archigram's critique of society (and of the architecture profession in particular.)
It's also a bit disheartening at times, i know that next time i visit the graduation show of a design school, i might look at some of the projects and realize that they have that uncanny air of "Archigram's been there, done that!"
Two words about the format: it is squarish, super thick and short. The kind of shape that never quite fits into the most manicured bookshelves. The inside has a vintage feel with thick, mat pages and tiny fonts.
Photo on the homepage: Blow-Out Village, Peter Cook, Archigram 1966.
Publisher Chronicle Books writes: A science book like no other, The Where, the Why, and the How turns loose 75 of today's hottest artists onto life's vast questions, from how we got here to where we are going. Inside these pages some of the biggest (and smallest) mysteries of the natural world are explained in essays by real working scientists, which are then illustrated by artists given free rein to be as literal or as imaginative as they like. The result is a celebration of the wonder that inspires every new discovery. Featuring work by such contemporary luminaries as Lisa Congdon, Jen Corace, Neil Farber, Susie Ghahremani, Jeremyville, Jon Klassen, Jacob Magraw, and many more, this is a work of scientific and artistic exploration to pique the interest of both the intellectually and imaginatively curious.
Teaming up science mysteries with illustration, comics or even fine art is obviously a nice idea. But a great idea is not enough. It needs to comes with a fresh direction, clever match-making, genuine curiosity and impeccable taste. This book, fortunately, has all these ingredients.
The scientific enigmas explored in the book depart far far away from us with "What existed before the Big Bang?" then moves gradually, in a very Powers of Ten fashion, to issues pertaining to the universe ("Are there more than 3 dimensions?"), our planet ("Can evolution outpace climate change?), the mundane peculiarities of human beings ("why do we hiccup?"), the idiosyncrasy of the animal world ("Why don't animal muscles atrophy during hibernation?") then the questions start investigating what goes on inside our bodies and they end on the nanoscale ("Are nanomaterials dangerous?")
The result is often gripping and sometimes even baffling. Some issues remain a mystery: i'm afraid that scientists are still unsure about the reason why whales sing (in case the question is keeping you awake) and more annoyingly, they don't know either what happens to time as you approach the speed of light. But whether they have a clear-cut answer to a mystery or only tentative theories, the scientists manage to explain the phenomenon and its raison d'être with a limpid, intelligible and fairly short text.
This book is delightful and if i have one negative commentary to say about the book it's that I'm not a huge fan of the retro-feel of the illustrations. It gives a uniformity to the book which imho is both a blessing and a curse. But, hey! Now i know why pigeons bob their head when they walk and that knowledge, my friend, is going to make me the star of all the Christmas parties this year.
The book trailer!